12 Top Photography Composition Rules

12 Top Photography Composition Rules - Take better photos by following these basic photography rules.

Earlier in the week we talked about breaking photography rules to create shots with more impact, however to break the rules you need to know what they are so here's 12 top photography composition rules for you to learn, shoot with then if you want to, break. If your shot is in danger of losing impact due to a busy background/surroundings, crop in tight around your main point of focus, eliminating the background so all attention falls on your main subject. This works particularly well with portraits when you're trying to capture something more intimate and focused or are shooting in a busy location where what's around them would just cause a distraction. Filling the frame could involve you capturing them from the waist up or for more impact, fill the frame with just their face. Patterns are another subject that when capturing, you should fill the frame with, aligning it up carefully to ensure it's straight. Keep an eye on the edges of your frame to make sure the person/animal you're photographing hasn't had any of their body parts chopped off by it. Cutting off your cat's tail, your dog's ears or part of your model's head, will not only spoil your shot, the unintentional limb chopping can pull attention away from what the viewer should really be looking at. The same goes for shots where your model's arm goes out of the shot and comes back in, such as them leaning on their arm which is bent at the elbow, if you can't see the bottom of the arm and how it's connected to their body, it can look a little alien, like it belongs to someone else. The most basic of all photography rules is all about dividing your shot into nine equal sections by a set of vertical and horizontal lines. With the imaginary frame in place, you should place the most important element(s) in your shot on one of the lines or where the lines meet. It's a technique that works well for landscapes as you can position the horizon on one of the horizontal lines that sit in the lower and upper part of the photograph while you're vertical subjects (trees etc.) can be placed on one of the two vertical lines.
Frames have various uses when it comes to composition. They can isolate your subject, drawing the eye directly to it, they can hide unwanted items behind it, give an image depth and help create context. Your frame can be man-made (bridges, arches and fences), natural (tree branches, tree trunks) or even human (arms clasped around a face). Our eyes are unconsciously drawn along lines in images so by thinking about how, where and why you place lines in your images will change the way your audience view it. A road, for example, starting at one end of the shot and winding it's way to the far end will pull the eye through the scene. You can position various focal points along your line or just have one main area focus at the end of your line that the eye will settle on. Shapes can be used in a similar way, for example imagine a triangle and position three points of focus at the end of each point where the lines of the shape meet. By doing so you create balance in your shot as well as subtly guiding the eye.
Having too much going on in your frame can me the person who's looking at it will just keep searching it for a point of focus and soon get bored of looking when they can't find one. This doesn't mean you can't have secondary points of focus, it just means you should make every effort to make sure they don't steal all the limelight. Take a look at our tutorial on using Points Of Interest In Photography for more information on this.
Unsightly objects, overexposed or particularly bright areas and blocks/dots of bright colour will all pull the eye from what it's meant to be focusing on so take a good look at your background before you take your shot and if possible, find a background that's not so obtrusive. If you're working on portraits make sure there's no unwanted items sticking out of your subject's head and unless it adds to the shot, throw the background out of focus. To do this, select a wider aperture if working with a DSLR or select the Portrait Mode on a compact camera to tell it you want to work with a wider aperture. If you're working with plants and flowers try creating your own backgrounds out of card and material which can be slipped into your bag alongside your camera gear. The problem with following the rule of thirds rule is that it can leave you with a strong focus point on one side of your shot and a big empty space on the other so, to improve this, see how you can add a secondary point of interest that's less important to balance your shot. This could mean moving an object (if you can), cropping in by zooming in with your lens or with the crop tool in your editing software or by moving your feet to find a different angle. This is similar to balance except you use the same object or a reflection of it on both sides of the shot or repeated through the entirety of it. Filling your frame with a pattern that repeats gives the shot more impact, exaggerating the size/number of the objects you're photographing. Shots where there's symmetry in them such as lamp posts lining either side of a street, a long line of trees or a series of arches can also be used to guide the eye to a single point. Just remember you need a focus point at the end of your shot otherwise it won't work as well. Symmetry can also involve non-related objects that resemble each other in shape, colour or texture. To be different, break the repetitive pattern with one shape/colour that stands out from the rest. You'll probably have to play around to see how positioning the 'odd one out' changes the composition/feeling of your shot. Having fore-, middle- and background detail will add depth to your image as well as draw the eye through the picture. Compositional elements that compliment each other, for example with colour or by association, work better but do be careful with the size of objects you use and how you place them as you don't want the shot to be thrown off balance. You don't want a rock in the foreground of your landscape shot, for example, drawing the eye away from the hills and mountains in the background. Adding water to the foreground can also lighten your shot as well as adding an extra element of interest as it reflects the sky back out. For some reason, items grouped together in odds (three strawberries rather than two) give you a shot that's more interesting and easier to focus on as the middle element is automatically framed by those that surround it. Try it next time you're shooting still life work or group portraits. As colours can be harmonious together (reds and yellows or yellows and greens) or complementary (orange and blue or magenta and green) they're great compositional devices. A colour scheme that sits well together will create a sense of rest and calm while colours that complement each other can be used to create more vibrant and dynamic shot.

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8 Ways To Break Photography Rules

Break The 'Rules' Of Photography - As the saying goes, rules are meant to be broken so here are a few ways you can break a few of the photography rules creatively.

Compositional rules are there as guides but that doesn't mean you always have to use them. Sometimes breaking the rules can help you create an image that's far more striking, so here's eight ways how breaking the guidelines can help you create an image that has far more impact. With the rule of thirds, you have to ensure that your main point of focus is positioned on one or more of the four intersecting lines on the nine square grid you have to imagine is sitting over your image. However, there are some shots where placing your subject in the middle of it will give you a more striking image. For example, a road or path stretching off towards the horizon, starting so it fills the frame and winding away until it vanishes can look better when positioned in the centre. The same goes for shots with lots of symmetry. A long table that's set for dinner with rows of chairs and lines of plates, glasses and cutlery on it will make a more interesting photograph if positioned in the centre of the frame, while photographing escalators, steps, piers and tunnels so they sit in the centre of the frame can help exaggerate their length, giving the impression that they go on forever. Portraits are more pleasing to the eye when you use the rule of thirds grid but if you're shooting a portrait that has a more creepy, unusual feel to it, positioning your subject in the centre of the shot will enhance this uneasy feeling.

When you're working with the horizon or lines you should avoid splitting the image in two, so horizons should be slightly higher or lower, depending where the interest is and lines should be positioned to the left or right of the centre line. However, cutting your image in two will give you a shot that has a lot of impact, particularly if you're going for something more abstract where strong blocks of colour are your focus. Keeping your horizons level and your shots straight is a rule that's important for landscapes but there are other subjects where tilting your camera will give them more energy and a sense of excitement/fun. If you're going to do this, make sure you do it properly, really turning your camera. If you don't, it'll look like you were going for a straight shot and angled your camera by mistake. For shots that are clean and sharp, you'll generally need to use the lowest ISO possible. Of course there are many cameras now that cope quite well at higher ISO levels, and they won't leave noise in your shots. However, if you have a camera that still struggles at higher levels, use it to your advantage, shooting some grainy images. If you don't want to create the look in-camera, shoot at a lower ISO and run your image through photo editing software and apply your grain digitally. The grain works even better with black and white shots so while you have your editing software open, try converting your coloured shot into something much more moody. Portraits are good subjects for this but if you have a few landscape shots you've taken on dull days, try converting them to black and white, add a little grain and a grungy frame and you'll breath life back into a boring shot. For a more dream-like composition, try throwing your whole frame out of focus. A wide aperture will be needed and you'll probably have to focus manually to stop your lens focusing on something in the frame. You want the shot to be out of focus just enough to make it look like you did it intentionally but still leave enough detail to make the scene recognisable. Your other option is to blur what would be considered as your main point of focus and have something in front or behind them sharp. A more subtle way to use the effect is by creating a soft focus portrait. Take a look at our Photoshop Tutorial for more information on how to do this.

Photo by David Clapp - www.davidclapp.co.uk

The 'try to keep your camera as still as possible' rule only applies when you're not going for a strong, abstract shot that's full of energy. If you're photographing action, a car speeding along a track or dancers spinning in a circle, moving your camera while you take your shot will add a little blur that can increase the feeling of speed and excitement. Using a slightly slower speed than you'd usually use to capture action will further enhance their movement and you probably don't need to move your camera to do this. Again, having part of the shot a little sharper than the rest will give your viewer a focus point. Try zooming your lens barrel out or in through the exposure too to create a zoom burst. You'll probably want a tripod to hand for this as it makes it easier to turn the barrel of the lens. Zoom bursts work well on stained glass but they can give equally good results on groups of fast moving dancers who are making their way towards you.

Try removing all sharpness from the shot with a drag landscape. We've covered this on site in a previous technique which you can find here: Drag Landscapes OK, so shooting with your camera held to your eye or using your camera's screen to frame your shot isn't a rule, just more of a thing that everyone does because that's the way camera's work! But by leaving your camera by your side and 'shooting from the hip' you can get some interesting results. Sure, it can be a little hit and miss but as it doesn't look like you're taking a photograph you stand the chance of capturing much more candid results, particularly on the street. When photographing someone or something moving through your frame, the eye will naturally follow the path the subject's on and most of the time, people leave space for them to move into. However, forcing them to the other side of the frame, in the direction they're moving can create a sense of speed, giving the impression that you couldn’t keep pace with them.

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'Old Vs New' Photography Challenge

Check out ePHOTOzine's inspirational photo month calendar! Each day click on a window to unveil new photography tips, treats and techniques.

View August's Photo Month Calendar

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Portrait Photography Tips From Damian "The BIG Dog" McGillicuddy

It's my intention while on our photo journey together that I show you an insight into my world but more importantly in to my "photo-philosophy". I want to show you that although good quality kit, that does what it says it will do is imperative, the latest, biggest and shiniest isn’t going to make you a better photographer!

I also want to show you that in my world, in the main, a piece of kit needs to be versatile, if I’m carrying it (actually I don’t carry anything as my assistants will testify to) it has to be versatile and more than just a "one trick pony"!

Perhaps most importantly I want to show you my philosophy of "stacking the odds", as much as is possible, in my favour is the path I always endeavor to take in my image making.

So lets start our next article by refining what we shot previously and making it that little bit more polished.

My intention was to add a little more control and a little more finesse to our first image. I want to show you that it doesn't take too much extra work to incrementally "move" an image on.

The image needs to still have that "grungy", sassy, sexy urban edge to it but with the added refinement of greater lighting control and a softer femininity.

Down by the canal, Castlefields, Manchester.Nikon D700 fitted with Nikons 85mm f/1.8
2x Nissin Di 866 Speedlights
2x Elinchrom Universal Skyport
The “bare bulb” enhancer from the DMLS Portaflex kit.
The 19 inch DMLS “Classic” beauty dish.
Sekonic L-758D light meterImage captured in RAW
ISO 200, f/5.6 @ 1/160 sec
RAW file processed through Aperture 3.1.3

I'm all about control - especially in my image making! I also believe your last capture can always be bettered, so lets evolve our last image and see if we can!

The technical aspect of the camera craft won't vary much. What I want to demonstrate is the refinement in our lighting and posing. These refinements may require you to look hard at your monitor but I promise you the effort you put in will be well rewarded.

My first aim with this image is to "soften" its overall feel - and I don’t mean to murder the image with gaussian blur. So my first thought turns to lighting which, for me,  is the absolute core quality of an image. If I’m looking to soften the image I’m looking to reduce the contrast within the image and to "blur" the line of transition between the highlight and shadow creating a more gradual and therefore less abrupt change in the image's tonality. In this image my dilemma is that I still have a mood to maintain so I can’t go too soft or it will destroy the intent and narrative of the image - answer softer but not too soft.

I swap the modifier on my key light for the classic 19 inch McGillicuddy collapsable beauty dish. The bigger modifier will give a softer light... but why does the beauty dish design liberate the humble speedlight?

The small flash tube in a speedlight by nature gives a crisp, hard, often harsh light. They were originally designed for the press to get light where there wasn’t enough for them to get a picture that would print well in the then, "low tech" reproduction of the newspaper world. The idea that image wise, something was much better than nothing!

Now I love the thought of the portability of these little packets of sunshine and believe they are highly useable, especially if you liberate them from the top of your camera! If you take a quick look at the close up image of the bowl of the dish you can see that the head of the speedlight is "poked" through the back of the dish.

The flash output is then aimed at the suspended “deflector”, the white bit, bottom left of the image, and this in turn bounces the light back into the bowl, growing in size all the time, then back around the sides of the defector and out of the dish and towards the subject. The illumination now enlarged and therefore is softened so it's now highly controllable, malleable light... magic!

You can see from my behind the scenes picture the exact placement of the key light.

You’ll note that it's been pushed further back from the 45 degree angle, although it's still above the subjects eye-line and angled down. The reason being that this will extend the "loop" shadow cast by the nose and join it up to the shadow on the face opposite to the key. This creates a little triangular patch of light on the cheek and the lighting pattern know as “Rembrandt”. This is a very sculptural, defining light that creates great dimensionality, never forget, our aim is to tell a 3D lie in a 2D medium.

The overview image also shows that we have now introduced a second speedlight. In point of fact it is the exact same light we used as the "key" in our last article. In this shot it has been repositioned to serve another duty. Now the light is behind our subject and on the opposite side to the "key" it can be used as a "rim" or "accent" light to stand the shadow side of the subject off the background and add more depth through lighting finesse. Adding this light has also allowed me to increase the shutter speed slightly and further darken down the levels of the ambient illumination adding a little more drama to the wall.

Both lights were triggered with Elinchrom’s Universal skyports. You can see from the behind the scenes image that the Skyport receiver simply plugs into the pc socket of the flash and triggers it once it receives the signal command from the transmitter which sit in the hot shoe of the camera... it's just like witchcraft really!

As the aim is to soften the image I’ve directed Nic to adjust the pose. The secret of a good model for me is the ability for him or her to listen to the direction and adopt it without fuss or question and certainly without interpretation. I control all the elements within one of my images and leave nothing to chance or third party input!

I’ve broken down the harsh aggressive nature to her pose and made it softer, more feminine and a little lighter by removing the strength from her triangular base (feet) and further adding and enhancing sexy “S” shapes. Simple and subtle... but powerfully effective.

Post is exactly the same as the image in my last piece. I'ts enhancement not rescue! Blemishes erased, skin softened, colour tweaked etc.

I don’t want you to think that a tool is "dead ended". In other words only fit for one use, I want you to understand that there are many ways to skin the preverbal cat! Thats why I feel it worth posting this image.

Theres no explanation needed, it was shot in the exact same way as the image in the last article, just in my studio, using the exact same bare bulb enhancer from the portaflex kit. The light just "pushed" further round to "split" the lighting, the reduction in ambient illumination just increases the contrast... the pose and styling obviously send a different message but essentially it's still the same tools used in a similar vein... just "tweaked" to create different mood and feeling within a different image... it's not rocket science is it?

I’m obviously feeling very generous today! I want to complete this article by talking briefly about another of my photo - philosophy core points. Simplicity is often the key! One thing I notice a lot as a international judge in the work of others (and sometimes my own!) is that it just becomes too complicated in many instances. It is this "gilding of the lilly" that can often ultimately weaken an image. Let me explain: sometimes if something works we should just embrace it, use it and be happy to create. Recently I had the great pleasure of using the Ray Flash speedlight "ring flash" adapter from Flaghead Photographic and boy, this could not be simpler or more effective to use. The unit literally connects to the head of the speedlight, locks on and then positions itself around your lens. It really is that simple! 

It's application was equally as simple in its execution! To get this smooth, shadowless, fashion inspired portrait I did nothing more than set my ISO to 400, put my camera into aperture priority, select f/5.6 and shot away. MAXIMUM effect from MINIMUM effort! Of course I like to think that concept, camera craft, styling and composition have a little to do with the outcome of the image but it really couldn’t have been easier to produce from a technical point of view.
I certainly will be exploring the use of this modifier over the next few months and I’d advise anybody wanting a "tres cool" effect to take a serious look at this tool to!

The post was once more the same as the other images shot in this location to keep them as a cohesive collection.

until next time...

McGillicuddy

To read part one, click this link: McGillicuddy Portrait Tips Part One

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African Safari Photography - By Grace Bryant, Member of ATP

All Things Photography - Photography Tips : Digital Photography Tips Home : July 2011

July 26, 2011 09:33 - Photograph the rich and famous and work with top professional photographers...

Ever wondered how people break into the big time with photo shoots that you would die to be a part of? Ever wanted to work with a top professional photographer and get some huge tips and advice from the industry's leading professionals?

All Things Photography are now working with Talenthouse, an agency that put's you a step nearer to your goals and in touch with the opportunity to shoot some extraordinary people!

To find out more and to get involved for free, please use the link below and get started today!

Talenthouse for Photographers - How to Photograph the Rich and Famous

July 26, 2011 09:50 - Lastolite Easybox vs Westcott Apollo Flash Softboxes

This year I started using more and more off camera flash using the amazing Pocket Wizards (Flex TT5 and Mini TT1). To compliment this set up, I recently purchased a couple of softbox diffusers to help with diffusing the ligh for a more pleasing look to my shots.

The two that I bought were the Lastolite Ezybox Hotshoe 24" and the Westcott Apollo 28" Front Recessed Softbox. Read what my initial thoughts were below and find out which one got sent back to Amazon the very next day!

Lastolite Easybox vs Westcott Apollo Flash Softboxes

July 26, 2011 10:00 - Pixel Pro External Flash Battery Pack

Another accessory that I recently purchased to go with my new off camera flash set up is to do with power!

I am constantly frustrated at weddings when I need to keep changing batteries at the most inopportune moment, plus the sheer number of batteries I carry adds a hefty weight to my already heavy camera bag.

Read how I solved both of these problems in one foul swoop with a very cheap but well made and all-round excellent battery pack from Pixel Pro...

Pixel Pro External Flash Battery Pack

July 26, 2011 10:06 - Samsung 8GB Micro SD Memory Card

I was recently sent the new Samsung Micro SDHC Class 4 Memory card with a request to review it and test to destruction!

This is the latest in a line of hardy, robust cards and this one claimed to be waterproof, dustproof, shockproof and magnetic security check proof (airports etc) so who was I to argue?

Read my review below and see how I finally broke this tough little cookie!

Samsung 8GB Micro SD Memory Card Review

July 26, 2011 10:16 - African Safari Photography - By Grace Bryant, Member of ATP

One of our members over at ATP Members recently uploaded a bunch of great images from her recent safari to Africa. She also wrote a great article outlining the events and happenings during her once in a lifetime trip.

You can read all about her adventure and see a selection of images using the link below. If you have a similar story with images to share, please get in touch with your idea/story.

African Safari Photography

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Earthbound Light - Nature photography from the Pacific Northwest and beyond

Welcome to Earthbound Light, where you will find some of the results of my passion for nature photography. I hope you enjoy what you find, but please be considerate of the work it took to do all this. The entire site contents including all images and articles are copyrighted. I would ask that you honor this and not copy them. If you are interested in publishing any of my images or articles or using them in other ways, please contact me so we can discuss your needs.

Thanks,

Earthbound Light Comes to Facebook and Twitter!

After listening to friends incessantly extoll the wonders of Facebook, I finally joined and also set up a page for Earthbound Light. I'm still figuring out how best to make use of Facebook, but I've already connected with friends I haven't talked to in years. If you're a Facebook member, drop by the Earthbound Light page and become a Fan.

The NetworkedBlogs application on Facebook also gives readers one more way to follow my weekly PhotoTip articles. Read them on the Facebook Earthbound Light page or add them to your own Wall.

And now, you can follow me on Twitter as well, to get access to my occasional thoughts and observations that fit well in 140 characters or less.

This week's Photo Tip:
Waiting for the Shot

Pacific Northwest weather is always somewhat unpredictable. Many of you could probably say the same thing about the weather where you live. Sometimes everything just works to get the shot you are after. Sometimes there's just no way to get the shot unless you are willing to wait for it. ... (more)

Book Recommendations

Over the years, I've accumulated a lot of books on photography. Click here for some of the better ones that may be of interest to site visitors. New titles are being added all the time. Buying through links on Earthbound Light helps support the site and is greatly appreciated.

Earthbound Light Featured in New Audubon Society Book

The new National Audubon Society Guide to Landscape Photography by Tim Fitzharris has just been published. Along with a lot of great information and Tim?s outstanding photos, the book features a list of resources as an appendix. Along with a selection of newsletters and organizations, books, and equipment providers, there are seven websites recommended as good starting places for further exploration. The first one is the website of Popular Photography Magazine. The second one is Earthbound Light, described as "Bob Johnson's informational website with nature, landscape, and digital photography tips." Sounds good to me.

You can find Tim?s new book at Amazon.com, and booksellers everywhere.

Earthbound Light and Northwest Magazine

In an agreement with Northwest, a bimonthly magazine dedicated to celebrating the Spirit of the Pacific Northwest, images from Earthbound Light were featured frequently in their pages and on their covers.

Northwest is a high-quality magazine that I am proud to be affiliated with.

2007 Environmental Photography Invitational

The winners of the 2007 Environmental Photography Invitational have been announced, and one of my photographs is among the one hundred selected images. The Environmental Photography Invitational, or EPI, is a premier North American photography event. The annual juried photo competition was created by Art Wolfe as "an event for the advancement of photography as a unique medium, capable of bringing awareness and preservation to our environment through art."

You can see the complete 2007 Environmental Photography Invitational gallery by clicking on this page.

2007 NANPA Member Showcase

As with last year, the North American Nature Photography Association has selected approximately 100 photos for their Members' Showcase gallery. They represent some truly excellent talent. And as with last year, one of mine was chosen to be among this elite group as part of the 2007 Member Showcase. A special "NANPA's Expressions 2007" showcase journal has been printed and distributed to all members including these 100 together with 150 additional selected images. All together, four of my images are included. A different photo will be selected each day from the Showcase to appear on the front page of NANPA's website.

Earthbound Light Effects for Photoshop Elements

Users of Adobe Photoshop Elements version 4 and above who are looking for looking for a way to add Curves now have an answer! I've explored a number possible ways of solving this problem and the one that stands out from all the others is the free easy.Filter SmartCurve plug-in by Alois Zingl. Click here to learn about it.

If you are using an Adobe Photoshop Elements version earlier than 4 and long for tools such as Curves to optimize image contrast and the Channel Mixer for black and white conversion, you can add them for free by downloading the Earthbound Light effects for Photoshop Elements. Don't let a silly little thing like Adobe not including them in the box stop you from getting the most out of your images. Works with Elements 1, 2 and 3 on both Windows and Mac OS. If you are running Elements 4 or above, you want SmartCurve instead.

2006 NANPA Member Showcase and Fine Art Galleries

Each year, approximately 100 photos are juried and selected by the North American Nature Photography Association for their Members' Showcase gallery. These represent some of the best work NANPA members produce. For the 2006 Member Showcase, one of mine was chosen among the top 10. These images plus an additional 150 runners-up were printed in a special "Impressions NANPA Showcase 2006" journal distributed to all members. All together, four of my images are included. A different photo will be selected each day from the Showcase to appear on the front page of NANPA's website.

The Summit also featured the first annual NANPA Fine Art Print Exhibit in cooperation with the Colorado Mountain Club. The 100 winning images jurried from those submitted including two of mine.

Earthbound Light Among Top 10 Coolest Sites of the Year!

Earthbound Light was selected by Cool Site of the Day as their choice for Saturday, May 7, 2005. The oldest and still the best, Cool Site of the Day has been picking cool sites they deem worthy of bringing to the attention of a wider audience since 1994. Thanks to everyone who took time to vote for the site.

Here's how Cool Site of the Day announced Earthbound Light to their mailing list: "Dynamic landscape photography by award-winning photographer, easy to understand weekly instructional tips on digital and traditional photography, extensive links and book recommendations. Extremely flattering feedback from visitors the world over. GORGEOUS stuff with some insight to each photo from the photographer. Very cool!"

Update: 2005 is now over and Earthbound Light has finished out the year among the top 10 coolest sites of the year. My thanks to everyone who has visited my site during the year and my congratulations to all the other really cool sites oout there.

Selected Nikonian of the Year 2004 - The Americas

Nikonians is a worldwide community of over 30,000 Nikon users.

In recognition of the team and their membership, they select three members to honor as Nikonian of the Year, one from the Americas, one from Europe, and one from the Asia Pacific Region. For 2004, I was privileged to be selected for the Americas.

"Bob Johnson: Nikonian of the Year 2004 - The Americas. In recognition of his outstanding commitment to the Nikonians community, his outstanding skills as a photographer, and his prolific contributions to the Nikonians forums. For his devotion to teaching and sharing his knowledge and skills with all members of the Nikonians community."

I am truly honored.

Better Photography Magazine

Published in Mumbai, Better Photography is the by far the largest selling photography magazine in India and South Asia. They carry a wide range of articles covering photography techniques, equipment reviews and tests, photo features, and interviews with amateur and professional photographers, along with the latest news in the industry.

The February 2005 issue features an extended interview with me under the title "Bob Johnson: Photographer Par Excellence." Spanning six pages, the interview includes thirteen of my images in full color. I think the article came out quite nice indeed and I?m flattered to be featured in their pages.

For those of you who (like me) live in countries where Better Photography is generally not available, you can download an Adobe Acrobat reprint of the article here (800KB pdf file). Those of you who do live in India and South Asia should pick up a copy, not just for the article covering my work, but also for the rest of their excellent content.

The Mountaineers is a great organization for those interested in the outdoors. If you live in Washington sate, click here to find more information.

See Earthbound Light on on these other fine websites!

Work is available for licensing as stock
and for sale as fine-art digital prints.

Entire site contents* copyright © 2000 - 2011 Bob Johnson, all rights reserved worldwide. No form of reproduction, including copying or saving of digital image files or articles, or the alteration or manipulation of said content is permitted.

* The extremely fine print: Logos and other images used for support to other sites are copyright by their respective owners. This entire domain and all associated e-mail addresses are located in the State of Washington (as are Mt. Rainier, Mt. Baker and the North Cascades and the Olympic Peninsula which are my primary focus). Sending unsolicited mail to addresses at this domain is subject to the provisions of the Revised Code of Washington.

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Food Photography – An Introduction

Interested in learning about Food Photography? Read on for some introductory tips.

Visit any bookshop and head for the cook book section and you’ll be overwhelmed by the array of books filled with scrumptious recipes accompanied by wonderful photography of the meals being written about.

Colorful stacks of vegetables drizzled with rich sauces on a clean white plate with glistening table settings – you know the shots. Sometimes the photography is almost the true focus of the book with the recipes taking a secondary role.

But how do you photograph food and get such great results?

Treat the food you’re photographing as you would any other still life subject and ensure that it is well lit. Many of the poor examples of food photography that I’ve come across in the research for this article could have been drastically improved with adequate lighting. One of the best places to photograph food is by a window where there is plenty of natural light – perhaps supported with flash bounced off a ceiling or wall to give more balanced lighting that cuts out the shadows. This daylight helps to keep the food looking much more natural.

Pay attention not only to the arrangement of the food itself but to the context that you put it in including the plate or bowl and any table settings around it. Don’t clutter the photo with a full table setting but consider one or two extra elements such as a glass, fork, flower or napkin. These elements can often be placed in secondary positions in the foreground or background of your shot.

Food doesn’t keep it’s appetizing looks for long so as a photographer you’ll need to be well prepared and able to shoot quickly after it’s been cooked before it melts, collapses, wilts and/or changes color. This means being prepared and knowing what you want to achieve before the food arrives. One strategy that some use is to have the shot completely set up with props before the food is ready and then to substitute a stand-in plate to get your exposure right. Then when the food is ready you just switch the stand-in plate with the real thing and you’re ready to start shooting.

The way food is set out on the plate is as important as the way you photograph it. Pay attention to the balance of food in a shot (color, shapes etc) and leave a way into the shot (using leading lines and the rule of thirds to help guide your viewer’s eye into the dish). One of the best ways to learn is to get some cook books to see how the pros do it.

One tip that a photographer gave me last week when I said I was writing this was to have some vegetable oil on hand and to brush it over food to make it glisten in your shots.

A mistake that many beginner food photographers make is taking shots that look down on a plate from directly above. While this can work in some circumstances – in most cases you’ll get a more better shot by shooting from down close to plate level (or slightly above it).

Really focusing in upon just one part of the dish can be an effective way of highlighting the different elements of it.

Having steam rising off your food can give it a ‘just cooked’ feel which some food photographers like. Of course this can be difficult to achieve naturally. I spoke with one food stylist a few years back who told me that they added steam with a number of artificial strategies including microwaving water soaked cotton balls and placing them behind food. This is probably a little advance for most of us – however it was an interesting trick so I thought I’d include it.

I’m certain that DPS readers will have plenty more tips on photographing food – feel free to add your tips in comments below!

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Concert Photography Tips

A Guest Post by Guy Prives.

Concert photography is one of the most challenging fields in photography, as opposed to posed photos; in this kind of photography we have no control of almost any parameter in the picture. We can’t direct the object being photographed, we do not have control over the lighting, which is constantly changing, and we do not have access to any angle.

On top of that we can’t forget that there are people around us who paid good money for enjoying the show and they don’t care that they are in our frame. Many times we are also limited to a certain time or amount of songs within we are allowed to take photos. Sounds like mission impossible? Although photographing a live show is not easy and intuitive, it is also less difficult than what most people might think, and I believe that at the end of this article, you will be amazed that it’s easier than it seems.

So how do we get started? For starters we want to lower as many of the variables that interrupt us, this is why I recommend to go to relatively intimate shows in places where you can get almost anywhere and take the frame from any angle you wish. If you have a band that you know personally, it will be a good place to start from. For example, my first show was in late 2007 – with Canon 350D and 18-55 mm kit lens. I went to a performance by a friend’s band, “The Carsitters”, who invited me to photograph the show, and I owe a lot of my experience to them.

Whether you are convinced by this saying or not there are still several fields in photography where our equipment is very important and one of these fields is the concert photography.

Due to the dim lighting at performances, we’ll prefer to use lenses with open aperture (f/2.8, f1.8, f/1.4) and using cameras that allows us to take photos at high ISO without noise.

In dynamic shows like rock bands, we will have to use a relatively high shutter speeds to freeze movement of wild drummer or jumping singer. These are the moments you will be thankful that you having good equipment in your hands. But do not be disappointed even if your equipment is not perfect. A lot of my concert shots were taken with Canon 350D that in terms of photography at high ISO is very noisy and does not allow to choose value over 1600, and also without any fast zoom lens.

Better to take a picture a bit noisy in my opinion, and reduce the noise later with some editing software (Lightroom 3 provides a very good option for reduce noises) or even stay with the noise, than getting an image without noise but all blurred because you had to compensate for the lower ISO with long exposure time.

Black & white can be a good option for noisy pictures like that.

One of the first difficulties we encounter in photography is the measurement of the light and selecting the correct exposure. In live shows we’ll measure light from a point which we want to expose by using the point metering (some will prefer using the evaluative).

In most of the shows there are several sets of repetitive light, so you should keep in mind the appropriate parameters for the different light and then for example as soon as spot will be on the singer we will know what the appropriate parameters for our frame. You should check your histogram and in addition check in the monitor for overexposed points, to ensure that the important objects in the frame are exposed properly. One of the most frustrating things is to get back home with a picture that looks good on the camera and then we find out in our computer screen that it’s overexposed or underexposed. Because it is difficult to find exactly our best exposure I recommend shooting in raw so that you can then compensate for the exposure if necessary and save images that was a bit overexposed or the opposite, got underexposed.

I am sure that you all know the following situation: You are in a concert, a few hundred feet from the stage, around of you hundreds of flashes of cameras from people who try to take pictures of the show.

I’m sorry to break the myth but your flash has no effect on lighting the singer. At best, the flash will do nothing, and at worst it will lit the cigarette’s smoke around you or the bald spot of those in front of you.

Another problem is that some use a camera on automatic or semi-automatic mode. The camera does not know that what interests us is the stage far away, and is not affected by the flash light, so it lets less light into the sensor – and we will get a dark stage.

So if you are far from the stage – turn off the flash.

If you are close to the stage and using the flash, the artist will be bright indeed – but any background will be dark and you’ll lose the whole atmosphere. What’s the solution? Measure the light by the environment until you get proper exposure in terms of atmosphere you want and just then add the flash, this way you get the ambient lighting showing the atmosphere, and the flash will lit the singer and freeze his movement. Thus, despite the slow shutter speed your object won’t become blurred. Of course you can bounce the flash and avoid harsh direct light which flatten the subject’s face, and can cause red eye, just like in any other situation that you take the photo with directed flash. If the ceiling is not low enough or is not white, like at most concerts, you can bounce the flash using a white card or just soften it by the use of any other diffusers. Another option using the flash that will have special results, but is less convenient, if you have access to the stage – put in advance flashes on the stage which will be activated remotely by triggers and will give you photos less ordinary.

The smoke can be our best friend or our worst enemy – when we take photos with flash, if the smoke is before the artist, then the flash will light the smoke and not the artist. In such situations we should avoid shooting with flash. However smoke behind the artist can improve the picture.

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When it’s too dark and we are far from the stage and we cannot use the flash, we will wait until the spot light, the narrow, focused and strong light, will light the artist. You might be surprised to discover that those dark images that are lit just by the spot light on the singer will be much better than the frame where everything is lit. You have to remember: photographing a concert is not like documentary photography where it is important to see everything, but more of a photo that shows a certain atmosphere and lighting is our main method to pass it to the viewers. In concert, you will rarely have fixed light on the stage. Fixed light may make it easier for you to photograph, but also produces images that are more boring and banal.

Do not ignore the constraints. Compact cameras, old cameras or lenses with over 2.8 Aperture can cause problems when trying to capture the subject lit properly. This is because of the changing lights that are usually dark, which characterizes the majority of small performances. One of the recommended solutions is to shoot silhouettes. We prefer choosing a silhouette that is very clear so that the viewer can see and understand what the subject in the frame is even if it’s without light. This kind of photo we’ll shoot when there is no light on the subject and the only lights are behind the band / singer / dancer.

That way with a simple camera we can get special pictures. Please note that if we’ll not define in the camera that this is what we want, it will choose for us a long exposure or using the flash in order to light the stage. What we need is to set the camera manually to allow underexpose. Whether negative exposure compensation (EV) is defined for those of you using automatic or semi-automatic, or for those of you using the manual mode just increase the shutter speed or close the aperture until the image is completely dark when there is no backlight. In order to produce the silhouette we will measure the right exposure from the stage and then shoot with the parameters that were obtained. The back light will show as it should – and the figure will be completely dark. In these situations it will be hard to focus the camera, so focus on the character when there is light, or shoot with manual focus.

In most shows the dominant color is red. Lighting technicians like this colored lights that photographers usually hate. You should be careful that the red color will not “burn” and you will lose the data in those areas. Better take the photo a bit underexpose in raw and then add some brightness so no details will be lost in those areas. Another way to handle this is to make friends with the lighting technician and ask to use specific lights – you’ll be surprised, it works. If you didn’t had any success with these two methods and found yourself in front of the computer with picture that was exposed inaccurate, converting to black & white can save this image.

Until now we have talked only about the technical issues to photograph a concert, but we must not forget to address the composition as well. Also in concert it is not enough that the photo technically is perfect, you should also need a story and a good and interesting composition. Sometimes a close up image where you can only see the guitar for example will be enough and sometimes you will want to catch the whole band together. It all depends on your artistic taste and equipment’s constraints.

In concert photography there are no rules, you’ll have to see in each show the lighting effects in order to decide how you will photograph and display the same band. In conclusion, the concert photography is not an easy task, but with a little practice – you can get beautiful results.

Guy Prives is a concert & people photographer. Photography for Guy is another way to look and see the world from unique and different angles.

He discovered his love of photography during a long trip to South America and this passion to capture the moment with a click of the camera has been with him ever since. Ordinary things (sights) can become extraordinary when captured through the camera’s lens.

You can see his photo at his web site and in his facebook page.

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12 Best Selling Photography Books

Looking to buy a great photography book to help you in your photographic learning?

Here are the 12 best sellers when it comes to what photography books our readers are buying at the moment on Amazon:

Pro Secrets to Dramatic Digital PhotosFundamentals of Photo CompositionDigital Photographer’s Complete Guide to HD VideoChasing the Light: Improving Your Photography with Available LightUnderstanding Exposure, 3rd Edition: How to Shoot Great Photographs with Any CameraThe Digital Photography BookThe Photographer’s Eye: Composition and Design for Better Digital PhotosWildlife Photography: Stories from the FieldFocus: Found Faces: Your World, Your ImagesDigital Wedding Photography: Capturing Beautiful MemoriesVisionMongers: Making a Life and a Living in PhotographyDigital Masters: Nature Photography: Documenting the Wild World

How this list was compiled

One of the ways that we keep dPS free is by promoting quality products on Amazon. dPS earns a small commission from any purchase made from following these links.

The other great thing about this is that each month we also get a report from Amazon that shows us what products are being bought by our readers (it’s all anonymous data). From that report we’re able to generate these lists which are also added to our Popular Digital Cameras and Gear page.

The above list was generated from purchases from our readers between April-June 2011. It’s not every book that was bought but these 13 made up the vast majority of sales.

Thanks for supporting dPS in this way – we hope you find this best seller list informative as you consider future purchases.

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NIKON SMALL WORLD COMPETITION 2011

Small World is regarded as the leading forum for showcasing the beauty and complexity of life as seen through the light microscope. For over 30 years, Nikon has rewarded the world's best photomicrographers who make critically important scientific contributions to life sciences, bio-research and materials science.

Prizes:

1st Prize

$3,000—toward the purchase of Nikon equipment. In addition, the winner will be invited to attend an awards presentation ceremony as Nikon’s special guest.

2nd Prize

$2,000—toward the purchase of Nikon equipment.

3rd Prize

$1,000—toward the purchase of Nikon equipment.

4th Prize

$800—toward the purchase of Nikon equipment.

5th Prize

$600—toward the purchase of Nikon equipment.

6th Prize

$400—toward the purchase of Nikon equipment.

7th–10th Prizes

$250—toward the purchase of Nikon equipment.

11th–20th Prizes

$100—toward the purchase of Nikon equipment.

Honorable Mentions

A commemorative print.



Rules:


Deadline for Entries:
April 30, 2011

Register here


Nikon Small World